All the factors of which it is composed, Phrases, Parts and Themes, are so closely interlinked that the continuity, cohesion and _unity_ of the whole is complete.

The variety of contents which these factors exhibit (greatest, naturally, between the two themes), does not disturb the impression that the whole movement is a unit.

This is due, at least partly, to the manner in which the perfect cadences are disguised; each one is passed over with the least possible check of rhythmic movement (measures 8, 19, etc.), thus snugly dove-tailing the structural factors.

The coda is elaborate and unusually long; it consists of several "sections," as follows (see the original): from measure 1 (the last measure in Ex.

54) to measure 4, a phrase, derived from the second Part of the Principal theme; measures 5-7, an abbreviated repetition; measures 8-14, a phrase, derived from the Principal theme; measures 15-17, a transitional passage; measures 18-25, a period, closely resembling Part I of the Principal theme; measures 26-30, final phrase.
LESSON 13 .-- Analyze the following examples.